Tag: dance

A night at the ballet

What: Les Ballet Jazz de Montréal

Where: Centre in the Square, Kitchener

When: Tuesday, 18 November 2013

While awaiting the start of this performance, Jean and tried to think how many other live dance performances we’d seen. It’s not that many, way behind live music and drama. For whatever reason, I went far more often back when I lived in Montreal, as a student. And Jean and I once saw Ballet Béjart on a trip to Montreal. They’re a Swiss company, and they were presenting a very modern ballet inspired by life of one Freddie Mercury. (Jean wasn’t sure to make of it immediately afterward, but it has aged well in his memory, and he now thinks on it fondly.)

But outside of La Belle Province, we’ve mostly experienced less arty dancing, like a “Riverdance” kind of show in Toronto (only more with tango and Latin and not so much Irish step dancing) and the So You Think You Can Dance: Canada tour stop in Hamilton (and actually, that was just me).

So it was nice of Montreal to bring the jazz ballet right to us.

They performed three pieces. The first was a sensual duet to a Phillip Glass soundtrack. The second was a longer piece featuring the whole company. It used an electronica soundtrack to present “scenes from a city”, starting with dancing at a club but moving on to various other scenes and themes. I’m not going to pretend I interpreted it all correctly, but I found the energy, beauty, and musical interpretation quite riveting.

After intermission, they performed the final, longest piece, Harry. This was presented as a sort of danced play, complete with the dancers speaking lines of dialogue (in English). But it was not a linear story; more of a revisiting of the themes of war, love, destiny, and determination. Which makes it sound all dour and serious, but it was neither; it was very funny at times and always entertaining, incorporating all kinds of dance styles, even ballroom.

And tickets were only $35 for this! If you could have gone to this, and didn’t… That was a mistake.

Harry excerpt from YouTube

Movie review: Silver Linings Playbook

We did not see too many of the Oscar-nominated movies this year, but can now add another to the list.

Silver Linings Playbook poster

***½ Silver Linings Playbook (April 2013) – Theatre

Bradley Cooper, Jennifer Lawrence. Pat Solatano leaves the mental hospital he entered on a plea bargain with a determination to rebuild his life with his wife. The slightly unstable Tiffany offers to help, if he’ll do something for her.

She says: This movie works by putting a new spin on the romantic comedy. With both lead characters dealing with some degree of mental illness, and one still married, the barriers are real. The movie also feels more real than your average rom-com: The mental illness, the family dynamics, are not always pretty, not always comfortable.

Both Bradley Cooper and Jennifer Lawrence are very good in their roles, and they’re surrounded by quite the cast, including Robert DeNiro and Julia Stiles. The dark moments are effectively balanced with humorous, and I love movies that include great scenes about learning to dance! I went in not knowing too much about this one, despite its acclaim, and came out quite the fan.

[I have to preface this part by saying that I gave Jean a very poor (and not so accurate) synopsis of what this movie was about. And he hadn’t heard anything else about it.]

He says: God, I liked that so much more than I was expecting! It was kind of sexy, in a weird way (for a movie with no sex), and had good acting, with an interesting relationship and story. It was actually a really good movie!

Movie review: Black Swan

Finally caught up with Jean on seeing this one. He saw it on a plane. I decided to wait for a full-size screen and stereophonic sound: I watched in on DVD on my BluRay player.

Black Swan poster***½ Black Swan (December 2010) – Rental
Natalie Portman, Mila Kunis. Ballet dancer struggles to portray The Black Swan in Swan Lake as her mental health deteriorates.

She says: Incredibly riveting even though it doesn’t have that much plot—Nina gets the lead role in Swan Lake early on, then spends the rest of the movie struggling to portray the seductive Black Swan as effectively as the virginal White Swan. The drama is all internal, as Nina is in an increasingly fragile mental state, but since we see the movie through her eyes only, we, like her, can never be sure what’s real.

Portman is great, as is Kunis, as her stand-in for the role, a person she comes to fear is plotting to replace her. The movie looks amazing and had one of the most effective surround sound audio I’ve ever experienced; for example, a knock on Nina’s door startle me almost as the character, as it really sounded like a knock on my door way off to the right (though my door’s actually on left)…

He says: It was a good movie, eh? Pretty disturbing, though.

The L.A. Complex

Three episodes in, I remain fairly impressed with The L.A. Complex, a new show about a group of young Canadians (actually, I’m not sure if they’re all supposed to be Canadian) in Los Angeles, most of them living at the Lux, all trying to make it big. Which as I write it, sounds a little lame. But it works because the scripts are fairly smart and engaging, not sugar-coating the gargantuan tasks these people face in trying to become, or stay, successful.

It’s a bit of a soap, with the cast intersecting and hooking up in various combinations. That makes it kinds of sexy and fun. There is a fair bit of humour as well, as the aspiring actors, dancers, or comedians do not always lead lives of dignity. But there’s a real core of sadness underlying it, too, because these people’s lives are kind of miserable.

Abby Vargas is a young, pretty Canadian who can sing, and possibly can even act. But six months after moving to L.A., her biggest role is as dead hooker, in body bag. She is broke. She lived in her car until it broke down; now she’s crashing with Nick (more on him later) and having to take the bus everywhere.

Connor Lake looks as though he, at least, has it made. He’s been cast in a lead role in a big medical drama, and has moved out of The Lux for more luxurious digs. But he’s having trouble keeping up with all the lines, and the producers are insisting he see an acting coach. He’s trying to anesthetize with sex, drugs, and most recently, self-mutilation.

Raquel Westbrook used to be big. Everyone remembers her from that cult show 12 years ago, which had the terrible time slot and so was cancelled after one season. She knows everyone, but at this point, she’s reduced to trying out for dead hooker roles, and losing those to younger actresses. (Because 32 is so old!) It’s making her a little edgy, and she’s drinking too much. All her hopes are now pinned on a great script she read by a couple of unknowns.

Nick Wagner works at a coffee shop by day to pay the bills, and tries his act out at comedy clubs by night. So far, he’s bombing, both professionally and personally. He’s the guy every girl wants “as a friend”, and he’s low on funds. I was thinking that of all characters, he’s the one who really should pack it in, but last episode he finally hit on a comedy groove, based on mocking himself.

Tariq Muhammad expected to make music during his internship at a record company, but mostly he’s been running errands and washing cars. That is, until he secretly sent Usher some “beats” that proved he had talent. He’s now assigned to work with tough rap star Kaldrick King, and things are going well—they’ve really hit it off. If only they weren’t both in the closet, and wanting to stay there…

Alicia Lowe is a dancer who works hard at her craft. But so far it’s close but no cigar at signing up for a tour. To pay the bills, she works as an exotic dancer. (This means she has fewer money troubles than most of the cast.) Her latest gambit is to make a sex tape with a former movie star, in the hopes of gaining fame, Paris Hilton-style. Previews of the next episode indicate that’s not going to work out so well.

So that’s our merry crew. If you’re at all intrigued, you can catch up with all episodes online, and new episodes play Tuesdays at 9:00 (hey, that’s now–I love my PVR) on Much Music.

His name is Prince. And he is funky.

Without intending this all to coincide, I’ve been plunged into a world of 1980s music nostalgia this week. I saw Rock of Ages Thursday, I began reading a book called Talking to Girls about Duran Duran (possibly more on that later), and I saw one of my favorite artists of the 1980s, Mr. Prince Rogers Nelson, in concert on Saturday, at Toronto’s Air Canada Centre.

I’ll cut to the chase on that last one: This was quite possibly the best rock concert, category “Hockey Arena”— that I’ve seen. The only real competition is U2 back in Montreal during their Joshua Tree tour. As my memory is not quite good enough for a true comparison, let’s call it a tie.

Prince has continued to record quite prolifically, up to two years, but I have to say I stopped listening to the newer material after 1992. But this show obviously focused on that earlier material, because I knew almost every song.

It started about 45 (?) minutes late (no opening act), immediately got us up singing and clapping along to “Purple Rain”, and never really stopped. The seated moments were few, as the energy coming from the stage kept compelling us back to our feet to dance and attempt to sing along to Prince’s complex vocal gymnastics. It’s difficult to believe this guy is 53 or whatever, as he pretty much looks, sounds, and moves as he did in the 80s. He can still hit all the high notes, his dance moves don’t let up, and he remains a guitar virtuoso.

And despite the focus on older (and therefore better known) material, it never felt like a nostalgia fest. He often reinterpreted the numbers, bringing an added soulful-ness to “Little Red Corvette”, and even more funk (who knew it was possible?) to “Kiss”. He also often mashed songs together, segueing from one to the other in interesting ways, thus covering even more of his impressive canon of hits. He even included a version of “Nothing Compares to U”, written by him but made famous by Sinead O’Connor, which reminded me of the many other artists who had hits with Prince songs (Manic Monday, I Feel for You, The Glamorous Life, When You Were Mine, and on, and on…).

I’d heard that he wasn’t doing his “dirty”songs anymore, and I kind of wondered what would be left, but he seems to have a pretty loose definition of what’s “dirty”, since Controversy, Raspberry Beret, When Doves Cry, Take Me With U, and Cream were included. And he also simulated a great deal of, um, passion on the floor during Little Red Corvette. He even played the intro to Darlin’ Nikki during the encore—though did stop there with a “Nah-ah! You don’t get that!”

His band was wonderful, and I loved that now as always, most of them were women. (Prince seems to truly love women, not just sexually, but also spiritually and musically. Three spheres I don’t think he separates.) They also got to shine at times, including in a cover of Sarah MacLachlan’s “Angel”, one of a number of covers he included—such as Michael Jackson’s “Don’t Stop Til You Get Enough.”

The stage was in that male / female symbol shape that Prince once used as his name. We were sitting facing the round end, 22 rows up, which were pretty decent seats. Prince and band made their way around to all points throughout the evening, and we could always look up at the screen when they weren’t at our end. (I wish I could include a picture, but they made me check my camera, which seemed pretty peculiar, since nobody had to check their smart phones… But anyway.)

Friday night, from what I understand, he did six encores, resulting in a 3 hour, 15 minute show. We had to be content with just one encore (though an awesome and long one it was), and a show that was probably only, 2 and a half hours? There was an after-party at a bar, though. My sister and I decided not to attempt attending that, though, because a) We figured the crowds would be insane b) We don’t have the energy of Prince, so we were tired and c) We really couldn’t make out the name of the bar, which was announced on the loudspeaker at the end in a bid to get us to leave, already.

Other reviews:

Toronto Star
National Post
Scotchneat

Fall means new TV

Last year at this time, I was complaining that so many summer shows were still on, I had no time to check out any new programs. This year, that’s not the case. Both dancing shows are done (one permanently—sniff!), Mad Men is not on until March or something, Flashpoint took a hiatus… My PVR’s been near empty for weeks.

But I need a distraction from the news, which I’ve been particularly depressing of late. So I’ve decided to audition a number of new shows, to see if any are worth sticking with.

Best new show (so far)

Completely unfair to judge this yet, as I haven’t even watched all the new shows I intend. And just one episode isn’t much to go on. Nevertheless, I feel I should mention CBC’s Michael: Tuesdays and Thursdays (which, confusingly, actually plays on Wednesdays) as I suspect most haven’t heard of it. It’s a half hour comedy, pretty simple premise: Michael has been in therapy for 15 years for various social phobias. His doctor is writing a book about it.

Doesn’t sound like much, but it’s funny. And feels true. And it has women characters as well, and they even get to talk to each other (not about men). And it’s fun spotting the various Ottawa locations in use. And being Canadian, it’s both unlikely to overstay its welcome, or get cancelled prematurely—at least this season. CBC has no doubt ordered a certain number of episodes, all of which it will broadcast.

New shows I’m checking out only because of the cast

1. The Secret Circle

Because it features the delicious Gale Harold, whom I loved in Queer as Folk, here playing a very nasty warlock. It’s a show about teenage witches in a small town. And based on one episode, it’s… exactly what you’d expect a show about teenage witches in a small town to be. So far, not promising to be more, à la Buffy the Vampire Slayer. But still, enough entertainment factor there for me to return for more episodes and see how it goes.

2. Ringer

Speaking of Buffy, Sarah Michelle Gellar is back in this new series, playing identical twin sisters. Boy, has this one received mixed reviews, some really dire. And sure, the premise is fairly ridiculous, but again based on only one episode, I’m willing to give it a few more views to see how it develops.

3. New Girl

This one stars Zooey Deschanel, and its main selling is most definitely that it stars Zooey Deschanel. It is totally running on her personal charisma. I found the first episode OK. It had some funny moments. I know feminist me is supposed to be offended by her manic pixie dream girl persona, but in a season also giving us a redone Charlie’s Angels and The Playboy Club, (and I’m not so sure about Pan Am, either) it’s hard to work up the outrage.

Returning shows I’m looking forward to

1. The Mentalist

This is one I never would have picked before. Not that I dislike The Mentalist, but it’s more Jean’s show, just one I also don’t mind watching, because the characters are fun and have good interaction.

But I have to say that last season’s finale really blew me away. It was completely gripping in and of itself, in a way that show isn’t usually, it apparently resolved the Red John storyline that had underlined the series since its start (but had become increasingly and a somewhat absurdly convoluted), and in way that I really didn’t expect but still didn’t seem unrealistic at all.

Now, I just can’t wait to see how they get Jayne out of this, and back to helping the CBI solve crimes. (They promise it won’t all have been a dream.)

2. Big Bang Theory

Here’s another show that went out last season with an ending both surprising and realistic, and it should be great fun watching all this unravel. I love this show for its consistent ability to make me laugh out loud. For real.

3. Battle of the Blades

Because the only hockey players I want to see are those wearing figure skates.

Returning shows I’m not sure I’ll keep returning to

I’ve already decided to drop the too-uneven How I Met Your Mother, and I’m not sure about these two:

1. Glee

Because in the past, no matter how bad this show sometimes got mid-season (and it could get pretty bad), it always seemed to pull together a finale that made me love it again. But last season? Holy geez, that was crappy. Replaying the Quinn-Finn-Jessie-Rachel love triangle again? Seriously? It’s the night before Nationals, and they haven’t even written the songs they’re going to perform yet? What?

And having made Coach Sylvester a total cartoon then decided we all needed to cry over her sister, what the heck will they do with her next? And apparently they had some reality show this summer to pick new cast members.

I don’t know, Glee. You’re sitting on the PVR there, but I’m not feeling in a big hurry to press Play.

2. Bones

Brennan and Booth and baby. Boring!

And for a bit of dancing

I have been checking out Nico Archambault’s Ils Dansent, focusing on the training of 10 male dancers. With no dropping of one dancer each week! Just learning new and increasingly complex choreography. Nice-looking show. And I can certainly use the weekly exposure to the French language.

A ballet at the Moulin Rouge and a symphony in space

The recent calendar has been a little busy, starting with a surprise party for Jean last Friday (at Verses), and a Valentine’s Dance on Saturday (at which we received some nice comments on our dancing, actually), and ending with another Verses dinner this Saturday, with a dance class and practice night fit in there as well.

And we also attended…

Moulin Rouge: The Ballet

The first ballet we’ve been to since, I think, the Ballet Béjart tribute to Freddie Mercury, quite a few years ago, in Montreal.

This one featured the Royal Winnipeg Ballet, and took place in our home town concert hall. It was inspired by the Bahz Luhrmann movie, but didn’t imitate it so closely as to get into copyright trouble. So though it is still a love triangle between a woman who works at the Moulin Rouge, an impoverished artist, and a more powerful man, they aren’t the same characters as in the movie. We still get a tango scene, and green fairy scene, but not at the same points, nor for the same reasons, as in the movie.

No matter. The plot isn’t the point in a ballet; it’s just window dressing for the dancing. And that setting and themes made for some really lively dancing. It particularly came to life, of course, with the extended can-can scene inside the Moulin Rouge. That part begun with an unfortunate flub, in which one dancer was nearly dropped, but otherwise the dancing was nothing but impressive. (Not that I’m any expert.) I wasn’t sure what Jean thought of the whole thing, but he assured me he found it enjoyable—even though he knows this may mean has had to attend another ballet in another 10 years or so.

And Friday, we had tickets to Symphony in Space.

Space image

This was a KW Symphony Pops concert intended to feature music with a astrological theme. So there was some Star Wars music, some Star Trek music, and some things you wouldn’t expect, like Bach’s Bradenburg Concerto, which apparently is out there on a space capsule somewhere, searching for intelligent life.

I’ve never seen conductor John Morris Russell before, but man, what an enthusiastic, lively personality he is. Along with being interested in science as well as music, he’s quite passionate about education, so the show also featured some young performers. The most adorable thing was seeing all these tiny violin players trot out to join the symphony in Suzuki’s “Variations on Twinkle Twinkle Little Star”. Brought back memories of my own violin-playing days. But these kids were much better.

The second half was hosted by an astronaut, Bjarni Tryggvason, who guided us through the planets of our solar system as the symphony played excerpts from Holst: The Planets and a bit of Mozart (Jupiter). This part was also accompanied by these gorgeous NASA photos of the various planets. It was really hard to get bored during this concert.

The conclusion featured the Eastwood Collegiate Concert Choir accompanying soloist AJ Bridel on “Defying Gravity” from Wicked. Man, does that girl have chops. Remember that name: She might be someone someday.

All in all it was one of the most enjoyable symphony performances of the season. Well worth making time for!

If I programmed the SYTYD Canada finale show

Through the So You Think You Can Dance Canada season, I’ve been taping my favorites to DVD. In advance of tonight’s final show, I just rewatched them all. Be interesting to compare my picks with the judge’s.

Week 1

Bree and Edgar – Sexy hip-hop

Of course, with Bree having been eliminated so early, no way this will be in the final show. I love how sexy it is, but that’s apparently the very reason these two ended up in the bottom three that week: People were offended by it! (In the video, the actual dancing starts around 1:37.)

Hani and Tara-Jean – Nico’s jazz routine

Yep, also won’t be there, given than Hani was the first to go! Seemed completely unfair, though, both that he ended up in the bottom 3, and that the judges dismissed him along with his injured partner.

Week 2

Nathalie and Mackenzie – Hip hop

Seems I either love the hip hop or am completely indifferent to it, and this one, I loved. I think it’s partly the song, which I liked so much, I bought! (Also a very rare thing for me, with hip hop.) And these two white, contemporary just did a great job with it.

Charlene and Jeff – Contemporary

Having rewatched, I have to say, I don’t think I’d include this one. It was fine, they danced it fine, but there was just so much contemporary this year! Nothing especially stood out about this one. I can’t even remember the choreographer, but it was probably Stacey Tookey.

Danielle and Sebastian – Theatre

This one, on the other hand, was very memorable. I think Sean Cheeseman may be my favorite choreographer. This seemed to suit Danielle and Sebastian perfectly.

Week 3

Amanda and Denys – Quickstep

Someday, someone needs to explain to me why in the ballroom dance classes I take, quickstep is considered one of the easiest. It’s typically the first one you learn. Yet on this show, it’s taken as gospel that it’s the hardest. Either way, Amanda and Denys nailed it.

Charlene and Jeff – Hustle

Oh my God, just as impressive on the second viewing (well, it’s more than my second). Still think this is the best disco I’ve ever seen on one of these shows. They were amazing.

Week 4

Nathalie and Mackenzie – Blake’s contemporary

I think I’d like this better if I didn’t now know that the tatoos represent Blake and Mia Michaels (are we ever going to find out what that was about?), but it was a fairly striking contemporary piece. And at least neither was supposed to have a disease.

Amanda and Denys – House

The number that, insanely, landed these two in the bottom three. Aren’t they great? (By the way, this is the closest Denys got to hip hop in the entire competition.)

Week 5

Charlene and Mackenzie – Latin

Some sexy Latin thing they did. Another one that, on retrospective viewing, I’m not sure deserves a place here.

Amanda and Sebastian – Contemporary

Amanda is afflicted with something here—Alzheimer’s? An eating disorder? I don’t remember. (When I tape, unlike YouTube, I don’t include the intro.) Sebastian tries to uphold her. Clearly, I liked it at the time, but they did way too many of these “issue” dances this year. (Ever since that cancer number made a big splash on the American show…) Caused each to lose something in the repetition.

Claudia and Denys – Samba

Clearly I wasn’t being overly picky this week, but Denys was great as usual, and Claudia kept up reasonably well.

Danielle and Edgar – Contemporary

Mostly notable for how well Edgar handles this dance, given that it’s not his genre. Danielle looks remarkably strong (physically, not as a dancer) with him. And, I love this song!

Week 6

Janick and Denys – Tango [Edit: Paso Doble]

Possibly at some point I just started taping everything Denys did? Although this was a good tango paso doble (and Janick’s first appearance on the DVD). But I can’t say I particularly remembered it before rewatching it just now.

Amanda and Mackenzie – Afro-jazz

Another one I didn’t remember all that well, but it is nicely done.

Claudia and Jonathan – Hip hop

This one, I actually remembered! Because I was so surprised how good they both were. On rewatch, I remained particularly impressed with Jonathan (and Claudia still wasn’t bad). But don’t expect to see it again, as they’re not top 10, and there’s a tour to promote… [On edit: Or, not so much, apparently…]

Group number by Mia Michaels (results show )

Even though I taped some, I’ve been mostly ignoring group numbers and solos in this list (as it’s already insanely long), but had to include this, as I think it’s possibly the single best thing done all season. Wow. Just, wow.

Week 7

Danielle and Denys – Contempory (military loss)

On rewatch, this really is my favorite contemporary number of the season. I can tell the story without any preamble, it’s incredibly touching, Danielle is just amazing, and Denys is Denys.

Week 8

Edgar and Amanda – Hip-hop mannequins (Luther Brown)

I think Amanda actually held her mannequin positions better than the hip-hop boy, but whatever, it was a very fun number. (Amanda is actually quite amazing, especially given her young age.)

Janick and Jeff – Blake’s jazz fusion

Nice sexy number, with whips and cages! I was impressed how well Jeff, who looks so Pillsbury dough boy, pulled this off. Amazing what eyeliner can do. Great dancing doesn’t hurt, either. (And apparently not offensive often for either to be eliminated, which is good.)

I’ve left off the “Top 4” show, as it’s not taped yet, but my favorite there was definitely the Sean Cheeseman “royalty” number that Janick and Jeff did. After that, Nico’s contemporary with Denys and Janick.

My picks (not necessarily predictions) for top dancer are 4. Janick 3. Jeff 2. Amanda 1. Denys.

Starting in September

I was pleased–and, I admit, a little surprise–to read that Edwin Outwater, the Kitchener-Waterloo Symphony’s young, hunky, charismatic, and talented conductor has renewed his contract through to 2015. I thought he would be lured away.

Not sure if I ever got around to mentioning how blown away we were by the Symphony’s Carmina Burana last year (the season closer). Never mind Tommy; that was the real original rock opera. It’s only disguised as classical music. But really, it’s all sex and drugs and debauchery… It’s rock’n’roll, baby.

This year’s Pops lineup looked so appealing we’ve signed up for all 8 shows, despite the sticker shock of buying that many tickets at once (good seats, of course). This Friday begins with a reprise of one my favorites from the past: Cirque de la Symphonie. It’s the closest we get to Cirque du soleil in this town.

Tons of TV shows seem to be starting this week as well, even before all the summer favorites (Mad Men, So You Think You Can Dance Canada) are done. Not sure there’s room in the schedule for any new shows. I’m rarely very good at picking out the new shows that will last, anyway, so perhaps it’s best not to even start until it’s clearer who the survivors will be.

It’s even back to school time for me, as our ballroom dance classes commence the last week of September.

So many leisure activities to fit in. I get mildly stressed thinking about it, which seems sort of backward.

Too much of a good thing?

Much as I like So You Think You Can Dance Canada, having episodes daily, many two hours long, has been a bit onerous. Of course, it’s just the auditions; it’s not really essential viewing. But they just have such a great ratio of actual dancing vs. blah-blah about dance that they’re a bit hard to resist.

Anyway, I’ve finally caught up. Of course, I’m behind on all other TV viewing, but this time of year, that isn’t so much anyway. Sunday they announce “our” Top 20. Let’s just hope CTV doesn’t start making these kids dance (and us vote) twice a week, in order to fit this all in before all the Fall shows come back with new episodes.

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Apart from sitting on the couch watching gorgeous young people sweat through dance numbers, I’ve acquired four new CDs in the last week (and one’s a double CD). Even for me, that’s rather a lot, but when shopping for used stuff, you got to grab it when it comes up.

The one I got totally new, though, and in digital download format only, is Arcade Fire’s Suburbia. Given that the album is number 1 in Canada, US, and Great Britain, guess I’m none too original on that front. But this is my first Arcade Fire album (or song or anything). I just grew intrigued from reading the reviews.

I love that it’s a concept album. I love that the concept is the suburbs, as representing emptiness and loss and waste. I love people barely 30 being nostalgic for the past: “I used to write letters. But by the time we met things had already changed. We used to wait.” (Very Ray Davies and Village Green Preservation Society, that way.) The songs are smart and sound gorgeous. I don’t mind pretentious when it’s backed by talent.

Oh, and a tip: Don’t buy the albums on iTunes. It’s $12 there. Get it directly from Arcade Fire’s website — $8.

My remaining purchases are all of old favorites. With the acquisition of Flash Gordon, I now, finally, own every Queen album. Course, this one is the weirdo, as it really is a movie soundtrack in the old sense of the term: Not a bunch of pop songs that play over montages in the movie, but the actual score that sets the tone and mood of the scenes. So it’s mostly instrumentals, along with bits of movie dialog (and the insanely catchy theme song).

So obviously, not the one to get if you’re only going to buy one Queen album. Or even 10. But within the movie score genre, it’s actually quite good.

And, I finally completed my Lowest of the Low collection by getting their final album, Sordid Fiction. I need to give all these more listens, but so far it appears to be just as good as their first three: same catchy pop with an alternative edge, smart lyrics with plenty of Canadian references.

And den I got The Who: Live at the Isle of Wight. I actually don’t own all of their albums yet—haven’t quite convinced myself I need their first two albums. And not sure how I convinced myself I needed this double CD, given that it already have this on DVD, not to mention that it contains yet another version of Tommy. So I think I have 8 versions of that particular opera, at this point.

And, you know, The Who really were great that night, at 4 in the morning or whatever, performing at the Isle of Wight. The only problem is that this is a very similar set to Live at Leeds. And Live at Leeds is just better, in both performance and sound quality. But at least Wight features the entire concert, in the proper order. That’s something.

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Oh, and one more set of CDs that came into my possession this week is the unabridged (9 CD) audio version of the novel The Wife’s Tale by Lori Lansens. This is courtesy of the author herself, who read my earlier blog post lamenting my difficulty in acquiring the audio version of this book. Isn’t that cool? And the timing is perfect for our upcoming driving trip to Quebec.